Bøger udgivet af Ridinghouse

Using the space of a public gallery as a field for reflection and debate, this volume extends the process of six artists that make up the Sleepwalkers project. The six artists - Clodagh Emoe, Sean Lynch, Gavin Murphy, Linda Quinlan, Jim Ricks, and Lee Welch - have used Dublin City Gallery The Hugh Lane as a place for research through developing a solo exhibition at the gallery during 2012-14. With each exhibition, the artists investigate the changing role of the museum and curator, as well as the collection and history of the gallery. Pages created by the participating artists are accompanied by essays by Simon Critchley, Chantal Mouffe and other leading curators and cultural theorists. These explore such vital questions as 'what is an exhibition?' and 'how does the form of an exhibition come into being?

One of contemporary arts most provocative and profound figures, British artist Helen Chadwick was celebrated for her controversial feminist installations. Her death in 1996 cut short a brilliant career, but her influence resonates in the work of the YBAs and other contemporary artists. Published on the occasion of Helen Chadwick: Bad Blooms at Rich

Ann-Marie Jamess intricate paintings are built up through layer upon

Exploring scale and perception, Josâe Damasceno's imaginative and surreal approach to sculpture is catalogued in this comprehensive monograph. Brazilian artist Josâe Damasceno is best known for large-scale sculptures and installations that deconstruct and transform common objects from pencils and cigarettes to hammers and strings into the unfamiliar. Damasceno's work is preoccupied with transformation, moving from one medium to another to form a layered process that surprises and disorientates the viewer. Having represented Brazil at the 52nd Venice Biennale in 2007, Damasceno's body of work is catalogued in full for the first time here and features over 200 colour illustrations alongside texts by Aurora Garcia, Jose Thomaz Brum and an interview with the artist by Ann Gallagher. Published in association with Editora Cobogâo, Rio de Janeiro, Brasil.

This bilingual volume inaugurates a series of books honoring writings by major art critics from around the world. An incisive commentator on the unexpected connections between the art of indigenous peoples and contemporary art, Paraguayan art critic/curator Ticio Escobar has been a prominent figure in Latin-American criticism for over 30 years. Combining philosophical reflection with ethnographic observation, Escobar defends the relevance of indigenous art as a creator and producer of genius forms. The essays in this volume are arranged into four thematic sections and tied together by one of the writers most crucial ideas: the importance of distance when confronting a work of art. Escobar was awarded the Guggenheim Fellowship (1998) and the inaugural International Association of Art Critics Prize for Distinguished Contribution to Art Criticism (2011). His writings, collected here for the first time, are complimented with writings by Marek Bartelik and Adriana Almada.

Published on the occasion of the 40 year anniversary of Galerie Max Hetzler, this volume documents the breadth of exhibitions held at the gallery since 1974. Tracking the gallery's move across Germany - from Stuttgart to Cologne to Berlin - Remember Everything takes the form of a documentary archive through conversations with 21 artists: Glenn Brown, Rineke Dijkstra, Jeff Koons, Albert Oehlen, Bridget Riley and Thomas Struth, amongst others. Alongside over 500 illustrations of recent exhibitions and historical material, texts by Jean-Marie Gallais and Julie Sylvester recount the gallery's history through personal observations. Drawn together, Remember Everything is an A-Z index of a singular gallery that, in turn, offers an illuminating account of contemporary art in Germany and abroad.

Eight never-before-seen gouache studies are at the centre of this volume, illustrating Bridget Riley's dynamic approach to colour. This volume documents a group of gouache studies by Bridget Riley from 1969 to 1972 that reflects a major reconfiguration of Riley's style. The shapes formed in these gouaches are arranged from a limited selection of colours - namely violet, green and pink - to explore the visual relationship between 'contrast and harmony'. Accompanying full colour illustrations, a conversation between the artist and Robert Kudielka from 1972 posits the works within the context of Bridget Riley's oeuvre.

British artist Alison Wildings conceptual sculptures combine forms and techniques

Paul Winstanley, who works from photographic material, creates

This first monograph celebrates the work of British artist Tess Jaray, who since the 1960s has explored painterly perspective through the geometry of pattern, repetition and colour.

The second edition of this indispensable collection, Talking Art 1 is

Among the many pictorial devices Bridget Riley has deployed over

British artist Nicholas Pope was best known in the 1970s and early

Spanning performance, sculpture and installation, Rose Finn-Kelcey's innovative art is characterised by its diversity in approach. From the 1970s Rose Finn-Kelcey became a central figure in the emerging communities of Performance and Feminist art in the UK. The complex thinking embodied in her work has touched on such themes as power and the dilemmas of mastery; the myth of the artist; the gaining of a voice; the deceptions of value; the nature of collaboration; the surrogate performer; spirituality; longing and death. The performance Glory (1983) was a compelling reaction to the Falklands War, while Bureau de Change (1987) was a response to the auction of Van Gogh's Sunflowers - a striking visual polemic against dehumanised values as well as a complex meditation on art and creativity. This book is the first comprehensive monograph on the artist. It documents more than four decades of her art and includes over 150 illustrations, as well as important essays by Guy Brett, Sarah Kent and Michael Stanley.

Published by Whitechapel Art Gallery and Ridinghouse in association with Haus der Kunst, Munich and Fundacao de Serralves, Porto.

Focusing on John Stezaker's subversion of landscape painting and the nude figure, this volume reapproaches the artist's important innovations in collage through the prism of art historical tradition. John Stezaker's found images, collages and image fragments are most associated with cinematic imagery, however it is the other found-image sources which he has worked with over the past 30 years which is the focus of this publication; notably the artist's 'Bridge' collages and the anatomical nudes of his 'Fall' and 'Expulsion' series. This catalogue - published in association with Rosenwald-Wolf Gallery, Philadelphia, which showed the exhibition John Stezaker: Nude and Landscape in October 2011 - centres on Stezaker's works from the 1980s, when he switched from the cinematic imagery of the 1970s towards 'an engagement with the culture of the image to the nature of the image'. The catalogue presents many new works that have not been shown before and, interestingly, also unaltered found images so similar to the Stezaker collages that they are only identifiable when focusing on the absence or presence of the artist's cut. Over 40 full-colour images are accompanied by texts by curator Sid Sachs, who explores the relationship between the landscape and the nude, and Elizabeth Manchester who looks at the notion and role of 'The Source' in Stezaker's work.

Featuring over 100 illustrations, including never-before-published works and archival material, this monograph accompanied the 2012-13 career survey devoted to Gillian Wearing, one of the UK's most significant Conceptual artists.

Published on the occasion of the exhibition, 19 January--9 March 2012, Whitechapel Gallery.

Engaging with the molten fluidity of paint, Rezi van Lankveld's abstract paintings strikingly balance the shift between pictorial scene and creative process. Rezi van Lankveld's working procedure has remained the same throughout her career; oil paint is poured onto wooded boards or, in the case of the newer works, onto canvas, until an image emerges, creating a spontaneous ambiguity to the pictorial form captured by the artist and spectator alike. Graduating from Jan van Eyck Akademie, Maastricht in 1999, the artist's recent works demonstrate a move from the vacant spaces of earlier paintings towards pieces in which the pictorial elements reach out to the edges of the canvas - creating forms which rise and fall rhythmically across the work. Accompanying full-colour illustrations of van Lankveld's work from 2003-10 are texts by Leen Bedaux, Jeremiah Day, Melissa Gronlund and Zlatko Wurzberg.

Published on the occasion of the exhibition held 22 September-12 November, 2011 at Drawing Room, London, and 25 November-19 February, 2012 at mima, Middlesbrough Institute of Modern Art, Middlesbrough.

"This catalogue is paginated in ascending Hebrew order"--P. [139], table of contents page.

Bringing together the collected writings of British artist, writer and professor Jon Thompson, this volume represents his considerable influence on a generation of artists and art historians. Thompson began writing in the late 1970s and - unlike much of the previous critical writing on academic art history - his careful research, depth of historical knowledge and insight into an artist's work and approach was quickly recognised as authoritative, fresh and exciting. Thompson taught at Goldsmiths College, London, Middlesex University and Jan Van Eyck Academie, The Netherlands, and he wrote influential essays about a wide range of artists including his former students Richard Deacon, Steve McQueen and Mark Wallinger. He also wrote extensively about trends in sculpture, art education and changes in art in general.

Ann-Marie Jamess intricate paintings are built up through layer upon

Arguably one of Americas most unconventional art/cultural critics

Comprising 41 works in verse, shape poems and abstract pieces written over a 20-year period, the volume's design is sensitive to the unique visual look of each poem. To introduce the book, editors Jeremy Akerman and Eileen Daly discuss with Peake the relationship between art and writing.

Eva Rothschild's large-scale sculptural compositions explore relationships between surface and structure whilst testing the boundaries between the abstract and figurative. Accompanying a solo exhibition at Dublin City Gallery The Hugh Lane, Dublin (23 May-21 September 2014), this volume features a number of recent sculptures by the Irish-born artist alongside a series of photographic portraits of gallery visitors holding snakes. Using diverse materials, such as wood, steel and fibreglass, Rothschild investigates sculptural form by testing the limits of those materials. With references to Minimalism and Constructivism, Rothschild's work aims to invert Modernism's forms and question its utopian ideas. Alongside full-colour illustrations, this volume includes texts by Brian Dillon and Michael Dempsey which closely examine Rothschild's installation at the gallery and her ties to broader art history.

John Stezaker is renowned for his innovative approach to found photographic imagery. This artist book focuses on his 'Crossing Over' series, which reframes image fragments from postcards to stimulate new readings.

Comprehensive survey of the career of groundbreaking British performance artist Rose English, featuring rare archival photographs, performance scripts, and interviews with her collaborators.